Spoilers follow for Wynonna Earp Season 3 Episode 9, “Undo It.”
By the end of last week’s episode, Bulshar had officially risen. This week on Wynonna Earp, the crew is left figuring out how to handle a demon that is visibly in violation of like 14 fashion police statutes.
“Undo It” begins the way every episode of Wynonna Earp should (frankly) begin – Waverly and Nicole in the midst of their Wayhaught shenanigans. As happens with many of us, their moaning O-faces were a result of them struggling to pry Bulshar’s ring off Waverly’s finger. When the excess lube doesn’t help, Haught sets off to the Earp barn, where Wynonna and Vamp Doc pried some other non-demonic things off each other. The only caveat here, of course, being Bulshar having WynDoc under his evil dandelion remnant-spell we saw him use at the conclusion of last week’s episode.
Wynonna manages to snap out of the spell for a quick second with just enough time to knock out a number of rejected extras from Monty Python And The Holy Grail and refer to Bulshar as “Ballshaft.” Ballshaft realizes Wynonna will not go down without a fight (because she is Wynonna. Freaking. Earp.) so he decides on fulfilling the nightmare every human being dreads – enduring a Happy Groundhog Run Lola Death Day scenario where you constantly die and come back to life while a terrible Powerpoint presentation plays in the background. I know I’m not the only one who suffers from this dreadful thought.
After being poison darted, spiked in the eye and acid-ed (somehow), Wynonna refuses the advice Doc gives her which is to “stop and think” and “be methodical,” because planning ahead is for nerds. Bulshar ups the ante by placing Wynonna at the Homestead, where we learn Doc is slowly being buried alive as she moves around Fantasy Bulshar World. Wynonna encounters Bobo in the barn and explores the definition of insanity (doing the same thing multiple times expecting different results) by killing him over a thousand times, leading to Doc’s imminent burial. She takes a different approach for the 1,001st time and actually talks to the well-dressed revenant. She pleads for his help in the fight against Bulshar, but Bobo feels defeated and that terrifies me. Throughout Wynonna Earp, I truly felt like Bobo had the consistent upper hand during any instance involving danger, including those during his well days. If he believes Wynonna will give up fighting Bulshar’s reign… then what fate possibly remains for those left in Purgatory? They simultaneously stab each other and as a pool of blood grows below her, I’m left with a pang in my heart striving for some good to come for our Earp crew.
During Wynonna’s time in Bulsharland, Wayhaught heads to the Gardner estate, where we get a glimpse of our beloved Mercedes post-Face/Off op trying to break into the Gardner safe. The trio encounter creepy demon jeweller Derek, who threatens Mercedes and Haught if Waverly doesn’t give him the ring by any means necessary. What does that entail? Cutting that beautiful angelic finger clean off. What course of action does Waverly take? SHE BURNS THE GUY’S FREAKIN’ FACE OFF. From her Wonder Woman punch of last week and this week’s gradual mutant abilities shining, I cannot wait to see how Waverly’s powers progress. While I’m not certain whether they’re solely a result of the ring or Waverly’s own badass self, seeing her come to terms with her newfound abilities is a prospect I’m dying for more of. A team-up episode where an entire day is spent with Wynonna quipping, Waverly Falcon-punching and Haught shooting a truckload of revenant scum? Sign me up.
Jeremy and Wayhaught investigate the woods, where they find displays made by the Blair Witch during her exploration phase. They find Bobo’s body where he reveals Bulshar is indeed one with the trees. When Waverly pushes him against a tree, Bobo ponders whether she found her father’s ring or if the ring found her (while Earpers are all here wondering, “Wait, her *father’s* ring?!”). Wynonna ultimately rescues Doc from a lifetime of finding dirt in places it doesn’t belong. She uses Peacemaker to seemingly Infinity War Bulshar away and they walk through the “red Narnia door” Wynonna believes is the way out of this ride that never ends. When we return to the barn, we’re briefly led to believe the curse is over. However, we’re right back to square one of Bulsharland and all hope is lost forever. Bulshar needs Peacemaker in order to make his Paradise dream a reality and in his fantasy world, he can seemingly bring to fruition any of Wynonna’s fears. We all know nothing can truly faze the Earp heir with the exception of one minor vice – the unmitigated love she has for her core crew. Bulshar knows this and utilizes her fear of her loved ones enduring harm against her. You see, this is why I don’t have any friends.
JerWayhaught find WynDoc trapped in a Blair Witch project and manages to wake them up. While the jubilation sets in that they’re finally out, we learn Bulshar now has the key needed to enter Paradise in the form of Peacemaker. With the King of Cat Barf now in possession of Wyatt Earp’s gun, is all hope lost forever for the residents of Purgatory? Not necessarily. We cut to a fully-healed Mercedes Gardner as she removes her bandages and thanks everyone’s favourite “sweet little lesbian” Waverly Earp for curing her. Earlier in the episode, we got a glimpse of what Heaven most likely looks like as a place on Earth when Waverly gently caressed Mercedes’ demolished-looking face. Is Waverly Earp the key to defeating Bulshar? Are Niagara Falls oven mitts going to be all the rage this coming season? I guess all we can do is wait and see what else occurs during another day in Purgatory!
“Undo It” executes one of my personal favourite narrative devices commonly used in TV and film: the “Groundhog Day Loop.” Seeing how characters attempt to work their way around a nearly impossible scenario has always fascinated me, as I constantly place myself in their shoes and wonder what I would do if faced with this task. Spoiler alert: I’d probably just cry uncontrollably until the entity involved with placing me in this situation grew tired of my incessant wailing.
It’s certainly nothing new to say Melanie Scrofano is an absolute revelation in her role as Wynonna Earp, however certain episodes come about that make you realize just how phenomenal she is and what an absolute honour it is watching her work. When Wynonna’s growing frustration reaches its climax and she starts back at square one, it is unbelievably compelling just seeing the sense of dread wash over her face as she struggles to figure out her next move. I’ve made my Dominique Provost-Chalkley and Scrofano love widely known, so I am counting down the days until we see the Earp sisters rightly strike down upon those who dare trespass them.
My 3 Favourite W’s of the Episode
I would now like to turn your attention to my 3 Favourite W’s for this episode of Wynonna Earp. These consist of favourite Wynonna Insult, Wayhaught Moment and Waverly Expression – the three pillars of any Wynonna Earp episode.
Wynonna Insult: “Even for a million-year-old Hell monster you… look like cat barf.”
Wayhaught Moment: There are key quotes in media that have become synonymous with true love – “You had me at hello” / “If you’re a bird, I’m a bird” / “I wish I knew how to quit you.” I would like to formally announce my campaign to add the following Nicole Haught line to this list: “When we get that thing off… We get off.”
What did you think of “Undo It”? Let us know in the comments below.
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Horror materializes in unconventional ways in Things Fall Apart
Those familiar with Hussein Juma, director and writer of Things Fall Apart, know that it’s somewhat fruitless to attempt to fully summarize his work. That’s largely by design – Juma himself says he enjoys injecting ambiguity into his projects.
But more than that, what’s exciting about Juma as a director is his ability to create a sense of atmospheric dread based heavily on context and character and not cliché. So horror fans on the hunt for films that are likely to surprise should take note of what Juma says about his first feature, Things Fall Apart.
“If you like arthouse cinema, things that are going to challenge you and even scare you a little too, I think this film would be for you,” Juma says. “If you’re interested in new ways to tell stories, in indie cinema and the way it can reframe things and put them in different contexts, I think there’s a lot to think about with this film.”
That unique approach to story was evident throughout Juma’s 12-episode web series Horse Mask, a surreal horror that centres around a missing daughter, a forest and many mysterious masks. Though Things Fall Apart is Juma’s first feature, he says working on Horse Mask helped prepare him, given the fact that the runtime of that web series evens out to be around the length of a feature.
Set during a dinner party, Things Fall Apart lets audiences act as a sort of fly on the wall as tensions and emotions emerge.
“Things progressively get more tense between the characters. I think there’s a good balance — there are those moments where you’re going to feel uncomfortable, there are moments where you’re going to be scared, there are moments where you’re going to feel like, ‘What the hell is going on right now?’” Juma says.
Furthering his desire to tell a story in a fresh way, Juma says he employed improvised dialogue throughout Things Fall Apart, making up 80 per cent of the dialogue. Though actors were provided with full scripts, dialogue was written in beats that guided where conversations would go.
“When we finally selected our actors, we extensively rehearsed it multiple times. That was a really cool process,” Juma says. “I had a bare-bones, skeleton idea of where I wanted each conversation to go, but these actors got so into it and took it to interesting places. (Many times) I was like, ‘Oh yeah, that’s great. We have to keep that.’”
The cast, which includes Chengis Javeri (one of the leads in Horse Mask), Bobbi Goddard, Gina Lorene and more, was already familiar to Juma, giving him confidence that they would be able to pull off the improvised dialogue. Juma says surrounding himself with smart, funny people led to a number of happy accidents that made their way into the finished product.
Other times, Juma says he would play off what he knew about the actors themselves.
“If I could see even a sliver of tension between them in the real world or a sliver of something in a look that I see, I can kind of harness that in the film,” he says. “I think that worked really well in terms of when I wanted to play someone against another person. Because I worked with them before, I knew things I could whisper in their ear before a take to throw them off.”
Ultimately, Juma says he wanted to make a film that he would want to see himself. Based on his track record, it’s likely that horror fans looking for a surprising, experimental feature with strong character work will find it in Things Fall Apart.
Things Fall Apart plays June 2 at 2 p.m. at the Globe Cinema in Calgary. For more information, click here.
Next up on The Mutt: The story behind Uwe Boll, the so-called “worst filmmaker” ever
CUFF 2019: Director Rob Grant on the tension (and dark comedy) of HARPOON
Adrift on the seas on a luxury yacht, three friends find themselves stranded without food or supplies and quickly realize their survival is less than assured. An official selection at International Film Festival Rotterdam 2019, Harpoon will make its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF. This interview has been edited and condensed for length.
THE MUTT: Can you tell me a bit about the genesis of Harpoon?
ROB GRANT: I had a great relationship with my producers (Knuckleball director Michael Peterson and Kurtis Harder) from a film called Fake Blood. I pitched Mr. Peterson on this idea that was a mix between Polanski’s Knife on the Water but by way of Seinfeld characters on the boat. I grew up in Vancouver, and the original idea was, “Well, I spent a lot of time on a boat, we could go take a boat out to the ocean and try to isolate ourselves out there.” Once a budget came into play and the idea grew, suddenly we were shooting the interiors of the boat in a set in the middle of freezing winter in Calgary, and shooting the exteriors on a boat in tropical Belize down south.
TM: Was it difficult for you to balance those comedic elements and still find a way to ratchet up the tension?
RG: It was very difficult, and there were a lot of discussions about that. When you have to give the elevator pitch, you have to say: “This is the genre and this is what it means.” But I subscribe to the logic that in life you can feel in one moment that you’re in a love story and the next minute in a horror movie, and that’s the way real life actually works. But it seems a little more rigid in movies. We were aware of potentially disrupting viewers’ experiences of watching the movie. (We thought) a movie could, or should, be multiple things at once. We’re willing to accept that there’s going to be some audience members that are going to reject that as a movie experience, but we wanted to try it.
TM: Can you tell me more about those influences you mentioned? I’m curious about how you mixed something like Seinfeld with more traditional thriller elements.
RG: Hitchcock’s Lifeboat was definitely in there, as well as Polanski’s Knife in the Water. But I had to still find the dark humour in it, and Seinfeld came up specifically because as much as we all find the Seinfeld characters enduring, they’re very much in it for themselves. They’re worried about their own outcomes. So I tried to use a lot of that. As much as these people like to say they’re looking out for each other, the second it becomes a survival story they’re all kind of in it for themselves. Paul Thomas Anderson’s Magnolia was another one, not only for mixing drama and humour, but definitely because the narration was less focused. It sets up what’s going to happen without speaking to much on the nose about what you’re about to see.
TM: I understand there’s some great gore and effects in Harpoon. What was your approach to that, and what effect do you think that has?
RG: I’ve explored the effects of violence in cinema with Fake Blood, and this was an extension of that. The entire movie, these people speak very casually and aloof about the things that potentially will need to be done without actually considering what that entails until suddenly when it happens. I felt like it would be a good idea to make sure that was extremely violent and horrible, not only because we’ve been teasing up to this moment, but I do believe there’s a certain element that people do not consider the actual realities of having to do something like that. So it’s very shocking, very brutal, it’s like, “ha ha ha this was all funny to discuss” and now that it’s happened it sucks the wind out of you. That was a very intentional decision.
TM: What do you think Harpoon does in a unique way when compared to other similar films? What do you hope the audience walks away with?
RG: I hope when people leave the cinema that it wasn’t the movie they were expecting, that it was a little bit of a different take. I do think it’ll challenge them depending what their expectations are. I just hope they’re expecting something interesting in the genre, and that they’re along for the ride.
Harpoon makes its Canadian premiere at the Calgary Underground Film Festival April 28. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
CUFF 2019: The story behind Uwe Boll, the so-called “worst filmmaker” ever
Director of the critically-maligned video game adaptations Alone in the Dark, House of the Dead and BloodRayne, Uwe Boll has long held a unfavourable reputation in the film industry not only due to the perceived quality of his films, but also due to his antagonistic response to his online “haters.”
But a new documentary, F*** You All: The Uwe Boll Story, seeks to better understand the firebrand filmmaker, diving into Boll’s past through a series of interviews with colleagues, critics and Boll himself.
The Mutt spoke with F*** You All: The Uwe Boll Story Vancouver-based director Sean Patrick Shaul prior to the film’s Alberta premiere at the Calgary Underground Film Festival April 27. This interview has been edited and condensed for length.
THE MUTT: How did you first become acquainted with Uwe Boll?
SEAN PATRICK SHAUL: I first met Uwe Boll on the set of Assault on Wall Street. I worked as a crew member with him. Seeing him work was so fascinating. The way he directed was like no one I had ever seen before. He was such an interesting guy. That was almost 10 years ago and I ended up working on a TV show that was shooting in his restaurant. That was how I came across the idea for the documentary. The idea was to look at someone who is widely known as the world’s worst director. It was more asking, “Why was he considered that? How did he get that title, and whether or not he was.”
TM: As his persona on the internet developed, did that mesh with what you knew of him? Did you feel he was being portrayed in a way that was inaccurate?
SPS: I had seen some of his movies and I understood the reputation he had. He also fuelled that himself through the internet, engaging with all of these trolls and these critics. He takes it head on, which is fun to watch. But I had no idea what he would say when I pitched the documentary to him. Within five minutes, I realized we had a lot in common. He was excited about the documentary, excited to have that side told of it.
TM: How does Boll feel about being referred to as the “world’s worst director”?
SPS: He thinks it’s very unfair, which I guess I would agree with. Art is subjective, so it’s hard to say whether something is good or bad. But I think he’s also aware of the type of movies he was making. He didn’t think he was making The Godfather. He knew these were video game adaptations movies, so his expectations were low with those. But he has made more personal films (since then), but he already had this black cloud following him around. It stalled his career in that way. I thought that was really interesting – he made 32 movies, but by his fifth movie, people had already written him off.
TM: Why do you think Boll feels the need to respond to his trolls and his critics online?
SPS: I think he’s a very proud guy. He’s aware of his accomplishments and I don’t think he can let a comment like that go. If someone has the motivation to go after him online, he has the equivalent motivation to fire back at them. He hasn’t really calmed down on that too much. I think he’s currently banned from Twitter for going after trolls. It’s kind of tongue-in-cheek for him when he goes after these people. He enjoys it, he likes engaging with them. It became part of his personality. As much as it hurt his career, it also helped his career in a way.
TM: In spending time with Boll, what surprised you about him as you got to know him better?
SPS: Before, I thought he was kind of an asshole, from his online persona, I thought he was just kind of a jerk. Through meeting him, I realized he’s a super sweet guy, he’s a really, really genuinely nice guy. He cares about films, he’s a real film guy. He knows all of the classics, he’s seen all these foreign films – he’s a real cinephile. But there’s something about him not being able to pull that off. All his favourite movies are the classics, but for some reason he can’t make those films himself. He was kind of handcuffed by all these tax loopholes and funding schedules, that he would have to pump these films out in a certain timeframe to get the tax credit. There’s a lot of reasons his earlier films turned out the way they did. They didn’t turn out the way he envisioned.
TM: Given that he knew the documentary wasn’t going to be all positive, why did Boll want to participate?
SPS: I think he just wanted someone who was looking at the larger picture instead of comparing him to a Tommy Wiseau or a Ed Wood. He wanted to explain himself a bit. The articles and the small kinds of podcast interviews don’t really give him enough time to explain himself, or they ask the same five questions. Almost every headline is “world’s worst director” – I think he wanted to look at something deeper. But he wasn’t shying away from that title. I told him early on in production that we’d be definitely looking at that angle and talking about it. He was more than happy to look at it. Most people would want this buried, but he looked at it head on. “I have that title, but let’s look at why.”
F*** You All: The Uwe Boll story plays April 27 at the Calgary Underground Film Festival. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.